The thought of the third human species was never systematic. But in some such manner as the foregoing it strove to rationalize its obscure intuition of the beauty which includes at once Life’s victory and defeat.
2. DIGRESSIONS OF THE THIRD MEN
Such, in brief, was the physical and mental nature of the third human species. In spite of innumerable distractions, the spirit of the Third Men kept on returning to follow up the thread of biological interest through a thousand variegated cultures. Again and again folk after folk would clamber out of savagery and barbarism into relative enlightenment; and mostly, though not always, the main theme of this enlightenment was some special mood either of biological creativeness or of sadism, or of both. To a man born into such a society, no dominant characteristic would be apparent. He would be impressed rather by the many-sidedness of human activities in his time. He would note a wealth of personal intercourse, of social organization and industrial invention, of art and speculation, all set in that universal matrix, the private struggle to preserve or express the self. Yet the historian may often see in a society, over and above this multifarious proliferation, some one controlling theme.
Again and again, then, at intervals of a few thousand or a few hundred thousand years, man’s whim was imposed upon the fauna and flora of the earth, and at length directed to the task of remaking man himself. Again and again, through a diversity of causes, the effort collapsed, and the species sank once more into chaos. Sometimes indeed there was an interlude of culture in some quite different key. Once, early in the history of the species, and before its nature had become fixed, there occurred a non-industrial civilization of a genuinely intellectual kind, almost like that of Greece. Sometimes, but not often, the third human species fooled itself into an extravagantly industrial world civilization, in the manner of the Americanized First Men. In general its interest was too much concerned with other matters to become entangled with mechanical devices. But on three occasions at least it succumbed. Of these civilizations one derived its main power from wind and falling water, one from the tides, one from the earth’s internal heat. The first, saved from the worst evils of industrialism by the limitations of its power, lasted some hundred thousand years in barren equilibrium, until it was destroyed by an obscure bacterium. The second was fortunately brief; but its fifty thousand years of unbridled waste of tidal energy was enough to interfere appreciably with the orbit of the moon. This world-order collapsed at length in a series of industrial wars. The third endured a quarter of a million years as a brilliantly sane and efficient world organization. Throughout most of its existence there was almost complete social harmony with scarcely as much internal strife as occurs in a bee-hive. But once more civilization came at length to grief, this time through the misguided effort to breed special human types for specialized industrial pursuits.
Industrialism, however, was never more than a digression, a lengthy and disastrous irrelevance in the life of this species. There were other digressions. There were for instance cultures, enduring sometimes for several thousand years, which were predominantly musical. This could never have occurred among the First Men; but, as was said, the third species was peculiarly developed in hearing, and in emotional sensitivity to sound and rhythm. Consequently, just as the First Men at their height were led into the wilderness by an irrational obsession with mechanical contrivances, just as the Third Men themselves were many times undone by their own interest in biological control, so, now and again, it was their musical gift that hypnotized them.
Of these predominantly musical cultures the most remarkable was one in which music and religion combined to form a tyranny no less rigid than that of religion and science in the remote past. It is worth while to dwell on one of these episodes for a few moments.
The Third Men were very subject to a craving for personal immortality. Their lives were brief, their love of life intense. It seemed to them a tragic flaw in the nature of existence that the melody of the individual life must either fade into a dreary senility or be cut short, never to be repeated. Now, music had a special significance for this race. So intense was their experience of it, that they were ready to regard it as in some manner the underlying reality of all things. In leisure hours, snatched from a toilful and often tragic life, groups of peasants would seek to conjure about them by song or pipe or viol a universe more beautiful, more real, than that of daily labour. Concentrating their sensitive hearing upon the inexhaustible diversity of tone and rhythm, they would seem to themselves to be possessed by the living presence of music, and to be transported thereby into a lovelier world. No wonder they believed that every melody was a spirit, leading a life of its own within the universe of music. No wonder they imagined that a symphony or chorus was itself a single spirit inhering in all its members. No wonder it seemed to them that when men and women listened to great music, the barriers of their individuality were broken down, so that they became one soul through communion with the music.
The prophet was born in a highland village where the native faith in music was intense, though quite unformulated. In time he learnt to raise his peasant audiences to the most extravagant joy and the most delicious sorrow. Then at last he began to think, and to expound his thoughts with the authority of a great bard. Easily he persuaded men that music was the reality, and all else illusion, that the living spirit of the universe was pure music, and that each individual animal and man, though he had a body that must die and vanish for ever, had also a soul that was music and eternal. A melody, he said, is the most fleeting of things. It happens and ceases. The great silence devours it, and seemingly annihilates it. Passage is essential to its being. Yet though for a melody, to halt is to die a violent death, all music, the prophet affirmed, has also eternal life. After silence it may occur again, with all its freshness and aliveness. Time cannot age it; for its home is in a country outside time. And that country, thus the young musician earnestly preached, is also the homeland of every man and woman, nay of every living thing that has any gift of music. Those who seek immortality, must strive to waken their tranced souls into melody and harmony. And according to their degree of musical originality and proficiency will be their standing in the eternal life.
The doctrine, and the impassioned melodies of the prophet, spread like fire. Instrumental and vocal music sounded from every pasture and corn plot. The government tried to suppress it, partly because it was thought to interfere with agricultural productivity, largely because its passionate significance reverberated even in the hearts of courtly ladies, and threatened to undo the refinement of centuries. Nay, the social order itself began to crumble. For many began openly to declare that what mattered was not aristocratic birth, nor even proficiency in the time-honoured musical forms (so much prized by the leisured), but the gift of spontaneous emotional expression in rhythm and harmony. Persecution strengthened the new faith with a glorious company of martyrs who, it was affirmed, sang triumphantly even in the flames.
One day the sacred monarch himself, hitherto a prisoner within the conventions, declared half sincerely, half by policy, that he was converted to his people’s faith. Bureaucracy gave place to an enlightened dictatorship, the monarch assumed the title of Supreme Melody, and the whole social order was refashioned, more to the taste of the peasants. The subtle prince, backed by the crusading zeal of his people, and favoured by the rapid spontaneous spread of the faith in all lands, conquered the whole world, and founded the universal Church of Harmony. The prophet himself, meanwhile, dismayed by his own too facile success, had retired into the mountains to perfect his art under the influence of their great quiet, or the music of wind, thunder, and waterfall. Presently, however, the silence of the fells was shattered by the blare of military bands and ecclesiastical choirs, which the emperor had sent to salute him and conduct him to the metropolis. He was secured, though not without a scrimmage, and lodged in the High Temple of Music. There he was kept a prisoner, dubbed God’s Big Noise, and used by the world-government as an oracle needing interpretation. In a few years the official music of the temple, and of deputations from all over the world, drove him into raving madness; in which state he was the more useful to the authorities.
Thus was founded the Holy Empire of Music, which gave order and purpose to the species for a thousand years. The sayings of the prophet,